Dry Landscape Gardens in Japanese Art Carry Great Symbolic Value

Blazon of Japanese garden

Ryōan-ji (tardily 16th century) in Kyoto, Japan, a famous example of a zen garden

A mountain, waterfall, and gravel "river" at Daisen-in (1509–1513)

The Japanese dry garden ( 枯山水 , karesansui ) or Japanese rock garden, ofttimes called a zen garden, is a distinctive style of Japanese garden. It creates a miniature stylized landscape through carefully composed arrangements of rocks, water features, moss, pruned trees and bushes, and uses gravel or sand that is raked to correspond ripples in water.^[1] Zen gardens are commonly plant at temples or monasteries. A zen garden is usually relatively small, surrounded by a wall or buildings, and is usually meant to be seen while seated from a single viewpoint exterior the garden, such as the porch of the hojo, the residence of the principal monk of the temple or monastery. Many, with gravel rather than grass, are only stepped into for maintenance. Classical zen gardens were created at temples of Zen Buddhism in Kyoto during the Muromachi period. They were intended to imitate the essence of nature, not its actual appearance, and to serve as an assistance for meditation.^[2]

History [edit]

Early Japanese rock gardens [edit]

Stone gardens existed in Japan at to the lowest degree since the Heian menstruum (794–1185). These early gardens were described in the first manual of Japanese gardens, Sakuteiki ("Records of Garden Keeping"), written at the end of the 11th century by Tachibana no Toshitsuna (1028–1094). They adjusted the Chinese garden philosophy of the Song Dynasty (960–1279), where groups of rocks symbolized Mount Penglai, the legendary mountain-island habitation of the Eight Immortals in Chinese mythology, known in Japanese every bit Horai.^[three] The Sakuteiki described exactly how rocks should exist placed. In one passage, he wrote:

"In a place where there is neither a lake or a stream, one can put in place what is called a kare-sansui, or dry landscape". This kind of garden featured either rocks placed upright like mountains, or laid out in a miniature landscape of hills and ravines, with few plants. He described several other styles of rock garden, which usually included a stream or swimming, including the swell river mode, the mountain river way, and the marsh style. The ocean style featured rocks that appeared to take been eroded by waves, surrounded by a bank of white sand, like a embankment.^[4]

White sand and gravel had long been a feature of Japanese gardens. In the Shinto religion, it was used to symbolize purity, and was used effectually shrines, temples, and palaces. In zen gardens, it represents water, or, like the white space in Japanese paintings, emptiness and distance. They are places of meditation.

Zen Buddhism and the Muromachi menstruum (1336–1573) [edit]

The Muromachi period in Japan, which took place at roughly the same fourth dimension as the Renaissance in Europe, was characterized by political rivalries which frequently led to wars, but also by an boggling flourishing of Japanese civilisation. It saw the showtime of Noh theater, the Japanese tea anniversary, the shoin style of Japanese architecture, and the zen garden.^[five]

Zen Buddhism was introduced into Nippon at the end of the twelfth century, and quickly achieved a broad following, particularly amidst the Samurai class and state of war lords, who admired its doctrine of cocky-subject. The gardens of the early zen temples in Japan resembled Chinese gardens of the time, with lakes and islands. But in Kyoto in the 14th and 15th century, a new kind of garden appeared at the important zen temples. These zen gardens were designed to stimulate meditation. "Nature, if you fabricated information technology expressive by reducing it to its abstruse forms, could transmit the almost profound thoughts by its simple presence", Michel Baridon wrote. "The compositions of rock, already common in China, became in Japan, veritable petrified landscapes, which seemed suspended in time, every bit in sure moments of Noh theater, which dates to the same menses."^[6]

The first garden to brainstorm the transition to the new style is considered past many experts to be Saihō-ji, "The Temple of the Perfumes of the West", popularly known as Koke-dera, the Moss Garden, in the western part of Kyoto. The Buddhist monk and zen principal Musō Kokushi transformed a Buddhist temple into a zen monastery in 1334, and built the gardens. The lower garden of Saihō-ji is in the traditional Heian menstruation fashion; a pond with several rock compositions representing islands. The upper garden is a dry rock garden which features 3 rock "islands". The get-go, called Kameshima, the island of the turtle, resembles a turtle swimming in a "lake" of moss. The second, Zazen-seki, is a flat "meditation rock," which is believed to radiate calm and silence; and the third is the kare-taki, a dry "waterfall" composed of a stairway of apartment granite rocks. The moss which now surrounds the rocks and represents water, was not part of the original garden program; information technology grew several centuries later when the garden was left untended, but now is the most famous characteristic of the garden.^[vii]

Muso Kokushi built another temple garden at Tenryū-ji, the "Temple of the Celestial Dragon". This garden appears to have been strongly influenced by Chinese landscape painting of the Song Dynasty, which feature mountains ascent in the mist, and a suggestion of nifty depth and height. The garden at Tenryū-ji has a real pond with water and a dry out waterfall of rocks looking like a Chinese landscape. Saihō-ji and Tenryū-ji show the transition from the Heian manner garden toward a more than abstract and stylized view of nature.^[7]

The gardens of Ginkaku-ji, as well known as the Silver Pavilion, are also attributed to Muso Kokushi. This temple garden included a traditional pond garden, but it had a new characteristic for a Japanese garden; an expanse of raked white gravel with a perfectly shaped mount of white gravel, resembling Mountain Fuji, in the center. The scene was called ginshanada, literally "sand of silver and open body of water". This garden characteristic became known as kogetsudai, or small mount facing the moon, and similar small Mount Fuji made of sand or world covered with grass appeared in Japanese gardens for centuries afterwards.^[eight]

The most famous of all zen gardens in Kyoto is Ryōan-ji, built in the tardily 15th century where for the outset fourth dimension the zen garden became purely abstract. The garden is a rectangle of 340 square meters.^[nine] Placed within information technology are fifteen stones of different sizes, carefully composed in five groups; one grouping of v stones, 2 groups of 3, and two groups of 2 stones. The stones are surrounded by white gravel, which is advisedly raked each day by the monks. The only vegetation in the garden is some moss around the stones. The garden is meant to be viewed from a seated position on the veranda of the hōjō, the residence of the abbot of the monastery.^[x]

The garden at Daisen-in (1509–1513) took a more literary arroyo than Ryōan-ji. There a "river" of white gravel represents a metaphorical journey through life; beginning with a dry waterfall in the mountains, passing through rapids and rocks, and ending in a tranquil sea of white gravel, with two gravel mountains.

The invention of the zen garden was closely connected with developments in Japanese ink mural paintings. Japanese painters such equally Sesshū Tōyō (1420–1506) and Soami (died 1525) profoundly simplified their views of nature, showing only the most essential aspects of nature, leaving great areas of white around the black and grayness drawings. Soami is said to have been personally involved in the design of ii of the most famous zen gardens in Kyoto, Ryōan-ji and Daisen-in, though his involvement has never been documented with certainty.

Michel Baridon wrote, "The famous zen gardens of the Muromachi period showed that Japan had carried the art of gardens to the highest degree of intellectual refinement that information technology was possible to attain."^[11]

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  Saihō-ji The Moss Garden, an early zen garden from the mid-14th century. The moss arrived much later, when the garden was not tended.

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  The garden of Ginkaku-ji features a replica of Mount Fuji made of gravel, in a gravel bounding main. it was the model for like miniature mountains in Japanese gardens for centuries.

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  Part of the garden at Ryōan-ji (late 15th century), the well-nigh abstract of all Japanese zen gardens

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  Classic triad rock composition at Ryōan-ji.

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  The white gravel "bounding main" of the garden of Daisen-ji, to which the gravel river flows.

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  The Garden of the Blissful Mountain at Zuiho-in, a sub-temple of Daitoku-ji.

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  In Zuiho-in garden – some of the rocks are said to grade a cantankerous. The garden was congenital by the daimyō Ōtomo Sōrin, who was a convert to Christianity.

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Afterward rock gardens [edit]

During the Edo period, the large promenade garden became the ascendant style of Japanese garden, merely zen gardens connected to exist at zen temples. A few pocket-sized new rock gardens were congenital, usually as function of a garden where a real stream or swimming was not practical.

In 1880, the buildings of Tōfuku-ji temple in Kyoto, one of the oldest temples in the city, were destroyed by a fire. In 1940, the temple commissioned the landscape historian and builder Shigemori Mirei to recreate the gardens. He created iv dissimilar gardens, one for each face up of the chief temple edifice. He made 1 garden with v artificial hills covered with grass, symbolizing the five great aboriginal temples of Kyoto; a modern rock garden, with vertical rocks, symbolizing Mountain Horai; a large "body of water" of white gravel raked in a checkboard pattern; and an intimate garden with swirling sand patterns.^[12]

In the last century, zen gardens accept appeared in many countries outside Nihon.

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  The garden of Tōfuku-ji (1940). The five hills symbolize the five great zen temples of Kyoto.

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  The mod zen garden at Tōfuku-ji (1940).

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  A zen garden in a checkboard pattern, at Tōfuku-ji (1940).

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  A courtyard zen garden at Tōfuku-ji (1940).

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  Part of the modernistic zen garden at Tōfuku-ji (1940). The "islands" of the immortals.

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  Part of the modern zen garden at Tōfuku-ji (1940).

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  Rosan-ji garden

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  Adachi Museum of Art

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  Kōmyōzen-ji

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  Jissō-in, in Kyoto (Iwakura)

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  Japanese Garden at Hamilton Gardens, Waikato, New Zealand

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  Japanese Stone Garden (Stage i), Chandigarh (India)

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  Japanese Rock Garden (Phase 2), Chandigarh (India)

Selection and organisation of rocks [edit]

Stone arrangements and other miniature elements are used to correspond mountains and natural water elements and scenes, islands, rivers and waterfalls. Rock and shaped shrubs (karikomi, hako-zukuri topiary) are used interchangeably. In most gardens moss is used equally a ground encompass to create "country" covered past forest.

The selection and placement of rocks is the most of import part of making a Japanese rock garden. In the first known manual of Japanese gardening, the Sakuteiki ("Records of Garden Making"), is expressed as "setting stones", ishi wo tateru koto; literally, the "act of setting stones upright." Information technology laid out very specific rules for choice and the placement of stones, and warned that if the rules were not followed the owner of the garden would endure misfortune.^[13] In Japanese gardening, rocks are classified as either tall vertical, low vertical, arching, reclining, or flat.^[14]

For creating "mountains", usually igneous volcanic rocks, rugged mountain rocks with sharp edges, are used. Shine, rounded sedimentary rocks are used for the borders of gravel "rivers" or "seashores."^[14] In Chinese gardens of the Song dynasty, private rocks which looked like animals or had other unusual features were often the star attraction of the garden. In Japanese gardens, individual rocks rarely play the starring role; the accent is upon the harmony of the composition.^[fourteen] For arranging rocks, there are many rules in the Sakuteiki, for case:

Make sure that all the stones, right down to the front end of the system, are placed with their best sides showing. If a rock has an ugly-looking top y'all should place it so as to give prominence to its side. Fifty-fifty if this means it has to lean at a considerable angle, no one will notice. There should always be more horizontal than vertical stones. If there are "running away" stones at that place must be "chasing" stones. If there are "leaning" stones, at that place must exist "supporting" stones.

Rocks are rarely if e'er placed in straight lines or in symmetrical patterns. The most mutual arrangement is one or more groups of iii rocks. I common triad arrangement has a alpine vertical rock flanked past two smaller rocks, representing Buddha and his two attendants. Other basic combinations are a tall vertical rock with a reclining rock; a short vertical rock and a flat stone; and a triad of a tall vertical rock, a reclining rock and a apartment stone. Other important principles are to choose rocks which vary in colour, shape and size, to avoid rocks with bright colors which might distract the viewer, and make certain that the grains of rocks run in the same direction.

At the end of the Edo period, a new principle was invented: the use of suteishi, "discarded" or "nameless" rocks, placed in seemingly random places to add spontaneity to the garden.^[14] Other of import principles of rock arrangement include balancing the number of vertical and horizontal rocks.

Gravel [edit]

Gravel is ordinarily used in zen gardens, rather than sand, because it is less disturbed by rain and wind. The human action of raking the gravel into a pattern recalling waves or rippling water, known as samon ( 砂紋 ) ^[15] or hōkime ( 箒目 ), has an aesthetic function. Zen priests practice this raking likewise to help their concentration. Achieving perfection of lines is not easy. Rakes are according to the patterns of ridges as desired and limited to some of the rock objects situated within the gravel area.^{[ clarification needed ]} Nonetheless, ofttimes the patterns are not static. Developing variations in patterns is a creative and inspiring claiming. There are typically four raking patterns, line, moving ridge, coil, and check.^[16]

The gravel used in Japanese gardens is known as "suna" (sand) despite the individual particles being much bigger than those of what is regarded as normal sand. These vary from ii mm to up to even 30 to fifty mm in size.^[17] Gardens in Kyoto have historically used "Shirakawa-suna", (白川砂利, "Shirakawa-sand") which is known for its rather muted color palette.^[17] This blazon of muted black-speckled granite is a mix of three principal minerals, white feldspar, gray quartz, and black mica which matches the aesthetic for most zen gardens. Shirakawa-suna also has an eroded texture that alternates between jagged and polish and is prized for its power to hold raked grooves, with patterns that last weeks unless weather, animals or humans intervene.

As of 2018 in Kyoto lone there are 341 areas spread over 166 temples covering a surface surface area of over 29,000 1000² which take used "Shirakawa-suna".^[xvi] Gravel is used in the archway, principal garden, and corridor area and takes four forms, spread gravel, gravel terrace, gravel pile, and garden path. Typically in areas covering less than 100 mⁱⁱ, the gravel is 20 to l mm deep and has a particle size of nine mm. Among the gardens which used Shirakawa-suna accept been Ryōan-ji and Daitoku-ji.^[eighteen]

"Shirakawa-suna" was sourced from the upper reaches of the Shirakawa River. However since the belatedly 1950s the river has been a protected waterway and extraction of gravel from the river has been illegal.^[17] Over time the gravel becomes weather-browbeaten and becomes finer, forcing gardeners to occasionally furnish information technology in order for the gravel to retain the patterns made in them.^[xviii]

Since the banning of extraction from the Shirakawa River the gravel used for both maintenance of existing gardens and the creation of new ones is sourced from quarried mountain granite of similar composition that is crushed and sieved.^[17] Still the process of manufacturing creates rounded particles of the same size, lacking the pattern holding characteristics of true "Shirakawa-suna", which have corners and are not uniform in size.^[18] For instance the Portland Japanese Garden experimented with granite chips sourced from Canadian quarries to compensate for the loss of access to Shirakawa-suna.^[nineteen]

Maintenance of the gravel in Japan is typically undertaken two to three times per calendar month.^[16]

Symbolism [edit]

In the Japanese stone garden, rocks sometimes symbolize mountains (specially Horai, the legendary home of the Eight Immortals in Taoist mythology); or they tin can be boats or a living creature (commonly a turtle, or a bother). In a grouping, they might be a waterfall or a crane in flight.

In the earliest stone gardens of the Heian menstruum, the rocks in a garden sometimes had a political message. As the Sakutei-ki wrote:

Sometimes, when mountains are weak, they are without fail destroyed by water. Information technology is, in other words, equally if subjects had attacked their emperor. A mount is weak if it does not have stones for support. An emperor is weak if he does non have counselors. That is why information technology is said that information technology is because of stones that a mountain is sure, and thanks to his subjects that an emperor is secure. It is for this reason that, when y'all construct a landscape, yous must at all toll place rocks effectually the mount.^[20]

Some classical zen gardens, similar Daisen-in, have symbolism that can be easily read; it is a metaphorical journey on the river of life. Others, similar Ryōan-ji, resist like shooting fish in a barrel interpretation. Many different theories have been put forward about what the garden is supposed to represent, from islands in a stream to swimming babe tigers to the peaks of mountains ascent higher up the clouds to theories about secrets of geometry or of the rules of equilibrium of odd numbers. Garden historian Gunter Nitschke wrote: "The garden at Ryōan-ji does not symbolize annihilation, or more precisely, to avoid any misunderstanding, the garden of Ryōan-ji does not symbolize, nor does it have the value of reproducing a natural dazzler that ane can find in the existent or mythical world. I consider it to be an abstract composition of "natural" objects in space, a limerick whose function is to incite meditation."^[21]

A recent suggestion by Gert van Tonder of Kyoto University and Michael Lyons of Ritsumeikan University is that the rocks of Ryōan-ji form the subliminal paradigm of a tree. The researchers claim the subconscious mind is sensitive to a subtle association between the rocks. They advise this may be responsible for the calming effect of the garden.^[22]

Landscape painting and the Zen garden critique [edit]

Chinese landscape painting was one of the many Chinese arts that came to Nippon with Zen Buddhism in the fourteenth century. That the Buddhism of Zen influenced garden design was first suggested non in Japan, but in the W by a Hawaiian garden journalist Loraine Kuck in the 1930s and disputed as such by a scholar of Japanese garden history, Wybe Kuitert in 1988.^[23] This was well earlier scholars jumped on the bandwagon in the 1990s to deconstruct the promotion and reception of Zen.^[24] The critique comes down to the fact that Buddhist priests were not trying to limited Zen in gardens. A review of the quotes of Buddhist priests that are taken to "prove" Zen for the garden are actually phrases copied from Chinese treatises on landscape painting. Secondary writers on the Japanese garden similar Keane and Nitschke, who were associating with Kuitert when he was working on his enquiry at the Kyoto Academy joined the Zen garden critique, like Kendall H. Brownish, who took a similar distance from the Zen garden. In Japan the critique was taken over by Yamada Shouji who took a disquisitional stance to the understanding of all Japanese culture, including gardens, under the nominator of Zen.^[25] Christian Tagsold summarized the word past placing perceptions of the Japanese garden in the context of an interdisciplinary comparison of cultures of Japan and the W.^[26]

Zen priests quote from Chinese treatises on landscape painting indicating that the Japanese rock garden, and its karesansui garden scenery was and even so is inspired by or based on kickoff Chinese and later also Japanese landscape painting.^[27] Landscape painting and mural gardening were closely related and practiced by intellectuals, the literati inspired by Chinese civilisation. A master design principle was the creation of a landscape based on, or at least greatly influenced by, the three-dimensional monochrome ink (sumi) mural painting, sumi-e or suiboku-ga. In Nippon the garden has the same status as a work of art. Though each garden is unlike in its composition, they generally use rock groupings and shrubs to stand for a classic scene of mountains, valleys and waterfalls taken from Chinese mural painting. In some cases it might exist as abstract as just a few islands in a sea. Whatsoever Japanese garden may also incorporates existing scenery outside its confinement, eastward.thousand. the hills backside, equally "borrowed scenery" (using a technique called Shakkei).

List of shrines and temples with stone gardens [edit]

Run across too [edit]

• Adelaide Himeji Garden - Sea of Sand
• Japanese garden
• List of garden types
• Higashiyama Bunka in Muromachi catamenia
• Rock garden
• Wabi-sabi

References [edit]

1. ^ Ono Kenkichi and Walter Edwards: "Bilingual (English and Japanese) Dictionary of Japanese Garden Terms (Karesansui. p. xx) from Kansai Main Pageocess, Nara 2001 The Karesansui definition was extracted with permission from The on-line "living" guide to realize a Zen garden by P.M. Patings.
2. ^ Gunter Nitschke, Le Jardin japonais, p. 65.
3. ^ Michel Baridon, Les Jardins- Paysagistes, Jardinieres, Poetes, pp. 485–87.
4. ^ Michel Baridon, Les Jardins, p. 488
5. ^ Nitschke, le jardin japonais, p. 67.
6. ^ Baridon, Les Jardins p. 472.
7. ^ ^{a b} Nitschke, le jardin japonais, pp. 68–73.
8. ^ Nitschke, Le jardin japonais, p. 86.
9. ^ Nitschke, Le Jardin Japonais. Immature and Immature put the size at 20-five meters past ten meters.
10. ^ Nitschke, Le Jardin Japonais, p. xc.
11. ^ Michel Baridon, Les Jardins, p. 474. Translation of this extract from French by D.R. Siefkin.
12. ^ Nitschke, Le jardin Japonais, pp. 217–18
13. ^ Michel Baridon, Les Jardins, pp. 485–90.
14. ^ ^{a b c d} Young and Immature, The Art of the Japanese Garden. p. 22.
15. ^ JAANUS, "samon　砂紋"
16. ^ ^{a b c} Zhang, Pingxing; Fukamachi, Katsue; Shibata, Shozo; Amasaki, Hiromasa (2015). "The Use and Maintenance of Shirakawa-suna in Temples of Kyoto Metropolis". Periodical of the Japanese Institute of Mural Architecture (in Japanese). Tokyo: Japanese Institute of Landscape Architecture. 78 (5): 497–500. doi:x.5632/jila.78.497.
17. ^ ^{a b c d} Kawaguchi, Yoko (2014). Japanese Zen Gardens. London: Francis Lincoln. p. 198. ISBN978-0-7112-3447-v.
18. ^ ^{a b c} Morimoto, Yukihiro (2007). "Kyoto as a garden city – A mural ecological perception of Japanese garden design". In Hong, Sunday-Kee; Nakagoshi, Nobukazu; Fu, Bojie; Morimoto, Yukihiro (eds.). Landscape Ecological Applications in Human being-Influenced Areas: Linking Man and Nature Systems. Dordrecht, Kingdom of the netherlands: Springer. p. 377. doi:10.1007/i-4020-5488-2_22. ISBN9781402054884.
19. ^ Funderburg, Lise. "Set in Stone". Garden Design . Retrieved xi May 2017.
20. ^ Baridon, Les Jardins, p. 492.
21. ^ Nitschke, Le jardin Japonais," p. 92. Translation of this citation from French by D.R. Siefkin.
22. ^ van Tonder, Gert; Lyons, Michael J. (September 2005). "Visual Perception in Japanese Rock Garden Design" (PDF). Axiomathes. xv (3): 353–71 (xix). CiteSeerXx.1.1.125.463. doi:x.1007/s10516-004-5448-8. S2CID 121488942. Retrieved 2007-01-08 .
23. ^ Wybe Kuitert, Themes, Scenes, and Taste in the History of Japanese Garden Fine art, pp. 150–sixty, Japonica Neerlandica Volume 3, Gieben Publishers, Amsterdam ISBN 90-5063-021-ix edepot.wur.nl
24. ^ Grotenhuis, Elizabeth x (2003). "Reviewed piece of work: Themes in the History of Japanese Garden Art, Wybe Kuitert". Journal of Japanese Studies. 29 (ii): 429–432. JSTOR 25064424.
25. ^ Yamada Shoji, (Earl Hartman transl.) Shots in the Dark, Japan, Zen, and the West, The University of Chicago Press, 2009
26. ^ Christian Tagsold, Spaces in Translation: Japanese Gardens and the W, University of Pennsylvania Press, 2017
27. ^ Kuitert, Wybe (March 2013). "Composition of Scenery in Japanese Pre-Mod Gardens and the Iii Distances of Guo Eleven". Studies in the History of Gardens & Designed Landscapes. 33 (1): ane–fifteen. doi:ten.1080/02666286.2012.753189. S2CID 163624117.

Bibliography [edit]

• Wybe Kuitert (1988). Themes, Scenes, and Taste in the History of Japanese Garden Art. Gieben Amsterdam. ISBN978-90-5063-021-four.
• Wybe Kuitert (2002). Themes in the History of Japanese Garden Fine art. Hawaii University Press. ISBN978-0-8248-2312-2.
• David Immature; Michiko Immature (July 2005). The Art of the Japanese Garden. Tuttle Pub. ISBN978-0-8048-3598-5.
• Günter Nitschke (2007). Le jardin japonais: Angle droit et forme naturelle. ISBN978-3-8228-3034-5.
• Baridon, Michel (1998). Les Jardins- Paysagistes, Jardiniers, Poetes. , Éditions Robert Lafont, Paris, (ISBN two-221-06707-Ten)
• Miyeko Murase (1996). L Art Du Japon. LGF/Le Livre de Poche. ISBN978-ii-253-13054-3.
• Danielle Elisseeff (2010-09-23). Jardins japonais. ISBN978-2-35988-029-viii.
• Virginie Klecka (2011-04-15). Jardins Japonais. ISBN978-2-8153-0052-0.
• Christian Tagsold (2017). Spaces in Translation: Japanese Gardens and the West. University of Pennsylvania Printing. ISBN978-0-8122-4674-2.

Annotation [edit]

*The Sakuteiki is a garden book with notes on garden making that dates dorsum to the late seventeenth century. Its oldest title is Senzai Hishõ, "Secret Extracts on Gardens", and was written nigh 1000 years ago, making it the oldest work on Japanese gardening. It is assumed that this was written in the 11th century by a noble man named Tachibana no Tichitsuna. In this text lies the showtime mention of the karesansui in literature. Only recently nosotros saw an English modern translation of this gardening classic.

External links [edit]

• Photo Gallery of Japanese Zen Gardens
• Virtual tour of the Zen Gardens in and around Kyoto
• Geometrical concepts of Japanese rock garden
• "Stanford University article on the history and pregnant of some Japanese gardens" (PDF). (180 KB)
• Tsubo-en – A virtual tour of the karesansui garden in Holland
• Report into the karesansui gardens of the Edo era – karesansui gardens of Traditional Samurai Residences
• Neuroscience unlocks secrets of Zen garden (Requires subscription)

  Neuroscience unlocks secrets of Zen garden (Mirror)

• Criticisms of the term "Zen Garden" - in Japanese Garden Journal

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Source: https://en.wikipedia.org/wiki/Japanese_dry_garden

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